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/o>''% DESIGNS IN OUTLINE 



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ART- NEEDLEWORK. 



EDITED BY / 
/ 

LUCRETIA P. HALE. 



FIRST SERIES. 

SIZE. 

1. Dwarf Arctotis Mantelpiece-Border ... 9 x 20 inches. 

2. White-Mountain Daffodil . Chair-Back 14 x 19 

3. Dahlia Banner-Screen 11 x 15 

4. Clematis Chair 14 x 19 

5. Peach-Blossom Tea-Cloth 10 x 14 

6. Cherry Tea-Cosey 9 x i6 



, i) ACCOMPANIED WITH 

INSTRUCTIONS IN DRAWING, TRACING, AND TRANSFERRING 
PATTERNS, AND DIRECTIONS FOR STITCH, ETC. 



COPYRIGHT. 

S. W. TILTON & CO., PUBLISHERS, 

BOSTON. 

1879. 



TILTON'S 

NEEDLEWORK SERIES. 



PART I. 

ART-NEEDLEWORK FOR DECORATIVE EMBROI- 
DERY. A Guide to Embroidery in Crewels, Silks, Applique, 
&c., with illustrated instructions as to Stitches, including the 
South Kensington Stitch. Also several designs for Patterns. 
Edited by Lucretia P. Hale. Price 50 cts. 

PART II. 

ART-NEEDLEWORK. — POINT-LACE. With illustrations 
of Stitches and Valuable Patterns. By Lucretia P. Hale. 
Price 50 cts. 

PART in. 

ART-NEEDLEWORK, MORE STITCHES FOR DECO- 
RATIVE EMBROIDERY. With Patterns. Price .... 50 cts. 



PLAIN NEEDLEWORK, MENDING, KNITTING, AND 

DARNING FOR ALL, at Home and in Schools; giving in- 
struction in Plain Sewing, &.C., the Management of Classes, with 
twenty illustrations. Com])iled from the best English works on 
these subjects, with some additional suggestions by the American 
editor. Edited by Lucretia P. Hale. Price 50 cts. 



DESIGNS IN OUTLINE FOR ART-NEEDLEWORK. 

FIRST SERIES. 

SIZE. 

1. Dwarf Arctotis Mantelpiece Border 9 x 20 inches. 

2. White Mountain Daffodil . . . Ch.iir Back 14 x 19 

3. Dahlia Banner Screen 11 x 15 

4. Clematis Chair 14 x ij 

5. Peach Blossom Tea Cloth 10 x 14 

6. Cherry Tea Cosey 9 x 16 

Each of these designs is given for some especial purpose; but they all can be used for 
different ones quite as well, and new designs formed by combinations from them all. Ac- 
companied with 

Instructions in Drawing, Tracing^, and Transferring Patterns, and 
Directions for Stitch, &c. 

T/ti's series of designs is very artistic, and far in advance of any before pnhlished. 

Sent by mail, to any address, on receipt of price (75 cents). 

S. W. TILTON & CO. Boston, Publishers. 



DRAWING, TRACING, AND TRANS- 
FERRING PATTERNS. 



TO transfer patterns from paper to stuff, any of the 
following ways are suitable : First trace the pattern 
on thin tracing-paper ; then place a piece of red transfer- 
ring-paper between the pattern and the stuff, and mark 
every line with a pencil or any pointed instrument, such 
as a knitting-pin. On taking away the pattern and the 
transferring-paper, an outline will be left upon the cloth 
sufficiently distinct to enable you to ink over it. The 
point of the tracer must not be too sharp. Black car- 
bonized paper makes a good transferring-paper. 

Or prick holes with a pin round the outline of the 
pattern ; lay the pattern on the linen, and rub charcoal- 
powder on it with a lump of cotton-wool. This must 
only be done to linen, not to silk-sheeting, or any material 
at all hairy. When you first take off your paper after 
rubbing with the charcoal, do not be frightened at the 
dirty appearance, for this can all be cleaned off after- 
wards, but first mark over the outline with pen and ink, 
taking care not to touch the other parts of the material 
with your hand : in other words, do not rest your hand 
upon the work in the usual way when drawing or writing. 

3 



4 DESIGNS IN OUTLINE 

A sewing-machine will be found convenient for pricking 
the holes. Several thicknesses of paper can be perforated 
at the same time by any ordinary machine, using, of 
course, the needle without thread, passing it over the out- 
line of the pattern. 

When you have finished tracing the outline, prepare to 
free the material from the charcoal thus : beat it from the 
back, and then flap (on no account rub) it with a clean 
duster. 

To transfer patterns to colored materials is more dif- 
ficult, because the markings are so apt to rub off. One 
way is to rub on powdered white chalk, as described with 
charcoal-powder, through holes, and afterwards paint over 
the outline with Chinese white. 

Or tack a tissue-paper pattern to the cloth, outline 
with white cotton in long running stitches, and then tear 
away the tissue-paper. This is a little tedious, but is per- 
haps, on the whole, the most satisfactory way, as the faint 
lines left by the Chinese white often make it necessary 
for the worker to outline quickly first, in either white or 
any other wool, for fear of the pattern rubbing entirely 
out. 

" Architect's linen," that is, a tracing-linen, is better 
than tracing-paper in tracing out a pattern from the origi- 
nal. But people who can draw ever so little are strongly 
advised to draw their own patterns straight off upon the 
linen. A little courage and self-confidence is so often all 
that is necessary ; and a pattern drawn and designed by 
the worker is far more interesting, and must necessarily 
be valued more as a gift, than a copy. A very stiff or 
medireval design is not suitable to the inexperienced 
draughts-woman ; but simple patterns can be attempted 
by very moderate performers. The patterns given here 



FOR ART-NEEDLEWORK. 5 

can be taken as hints, and then enlarged upon and altered 
to suit the worker's taste. 



MATERIALS. 

Brown or white coarse but closely woven linen is need- 
ed. It was once very difficult to procure, as a peculiar 
firm make is required : it can now be obtained from most 
of the large shops abroad ; but the soft linens are found 
with difficulty here. 

Ecru, brown, and olive-green serge are suitable for table- 
cloths, and look best embroidered with a stiff pattern. 
Yellow flowers, such as the arctotis, look well. 

Unbleached sheeting is a coarse material, whose chief 
advantages are the handsome folds it takes, its soft color- 
ing, and also its cheapness : even a ball-dress of sheeting 
embroidered with poppies has been pronounced quite beau- 
tiful. It is nice for curtains, as it is a very heavy stuff. 
Its one disadvantage is that it soils rather quickly, owing 
to its cottony surface. The cotton-flannels have the same 
advantages and disadvantages. 

In choosing your wools, beware of bright and vivid 
hues, especially of green. Sober tints of olive, sage, and 
dead-leaf color, blend best together. In fact, all the old- 
fashioned shades will be found suitable, because their dye 
is not the pure kind which makes the modern hues so 
harsh. 

Vegetable silk, a kind of linen-thread, is sold in three 
shades of yellow, the darkest quite brown, or bronze. 
This is very suitable for outlining any stiff or medieeval 
pattern upon the silk-sheeting. It is dyed in almost all 
other colors as well. 

Embroidery-silk is suitable for working upon plain or 
ribbed silk. 



6 DESIGNS IN OUTLINE 

Tapestry wool serves to make the work stand out from 
the cloth, and can be used for the blotting-book cover. 

If you find your work drag the serge, tack dimity at the 
back : this prevents the serge being drawn up too much. 

THE STITCH. 

It is worked the opposite way to stitching ; that is, you 
work 7ip the cloth instead of doivti. Make a small length- 
way stitch ; draw your needle through the cloth about the 
centre of the stitch, on the left side of it. At first you 
will be obliged to turn the work round every time you 
begin another row ; but, as soon as you get into the way of 
working, this will not be necessary. Or carry back the 
thread in one stitch to the point from which you started. 

Work the leaves the same direction that the fibres take 
in a natural leaf. The usual plan of such leaves as bram- 
bles is to do one side of the leaf darker than the other ; 
vein down the centre with the same, when the leaf is 
finished. 

The centre of flowers you must do in dots by winding 
the wool once or twice round the needle, and then drawing 
the wool up, or, leaving a loop, twisting it by inserting the 
needle through it, and then drawing up.^ 

FADED SHADES. 

There are certain peculiar shades which it is impossible 
to buy ; among others, the pale pinkish mauve for prim- 
rose-stalks. 

The proper shades may sometimes be effected thus : 



1 A more detailed description of the stitch, ilhistrated, can be found in Art-Nee- 
dlework, Part I., published by S. W. Tilton & Co., Boston, who will send a copy 
by mail to any address on receipt of price, 50 cents. 



FOR ART-NEEDLEWORK. y 

Select the bright color which nearest approaches the 
required faded shade ; place it between two pieces of glass, 
and leave it in the sun until it is bleached to the right 
tone. 

PRESSING THE WORK. 

Pour boiling water into a shallow bowl, and hold the 
wrong side of the work towards the steam, shifting it 
about to get every part impregnated. Stretch the work 
tightly in a wooden frame, and leave it thus for several 
days. 

Or wet the work slightly on the wrong side with 
water into which a little gall has been put, and then 
stretch it on a board, with the right side uppermost ; or 
pin it out on the carpeted floor with a clean cloth under- 
neath it. 

Or iron the work with a wet cloth between the iron 
and the wrong side of the work. The-:5rst of these plans 
is the one recommended, unless great care^s^rO^^e used in 
the ironins:. 




WASHING. 

So much depends upon the washer, that it is hardly safe 
to say in a general way that crewel-work washes well ; 
but it ought, if good wool, and proper care be used. 

Put bran, no soap nor soda, in a basin, with warm water, 
and leave the work to soak. Press it every now and then ; 
but do not rub it. When clean, hang it out to dry : do 
not wring the water out, as that would crease the work. 
Stretch on a frame when nearly dry, or iron it. 

Get the thing out of hand quickly : a little ox-gall is 
sometimes used to prevent the colors from running. 



DESIGNS IN OUTLINE 



THE DESIGNS. 

Each design is given for some especial purpose ; but 
they can all be used for different ones quite suitably. 
The mantelpiece-border of arctotis, for instance, makes 
a handsome chair-back on sheeting, and the peach-blos- 
som tablecloth can be used for dress-trimming. 

Any of these patterns could be done merely in outline, 
in one shade ; or it can be raised in two shades. 

No. I. DWARF ARCTOTIS. 

Yellow flowers, the under part dark reddish-yellow ; 
buds the same ; middles very dark purple, with light- 
brown ring; leaves rather light. 

The tricolor arctotis can be worked from this pattern 
also ; the flowers white, reverse side of petals purple, bud 
purple, any inside petals of the same which show, white ; 
yellow ring inside the purple centre. 

No. 2, MOUNTAIN DAFFODIL. 

White flowers shaded with gray, the extreme lights in 
linen -thread or raw-silk; the sheath from which they 
grow very pale brown, shading off into rather light green 
for stalks. Leaves medium. These can be outlined with 
double wool. 



FOR ART-NEEDLEWORK. 9 

No. 3. DAHLIA. 

The lower half of banner-screen. Dahlias red ; the 
lines down each petal of a darker shade. Stalks light 
reddish-purple ; leaves green. Butterfly in fine brown 
silk. 

No. 4. CLEMATIS. 

Clematis for the centre of chaise longuc, or small draw- 
ing-room chair, or prie-dieii chair. The flowers are white, 
shaded with greenish gray ; the tips of the petal in white 
linen-thread ; the leaves in two shades of olive-green, or 
dark and light gray-green ; pale-yellow centre-spots. This 
pattern is very beautiful on dark-green serge. The pat- 
tern is divided into two parts, as there is not room on the 
sheet for it in height. 

No. 5. PEACH-BLOSSOM. 

Peach-blossom border for five-o'clock tea-cloth. The 
centres are deeper pink than the outside of the petal, the 
stamens yellow; the five narrow leaves round them are 
pale green ; medium green leaves. 

If you use this pattern for a chair-back, add a border 
above and beneath ; or else cut a lengthway slit about half 
an inch deep and one inch from the border, pull out the 
threads, button-hole the cut to prevent unravelling, and 
cross three threads of linen back over the preceding three 
threads. 

No. 6. CHERRY. 

Tea-cosey. Red cherries and green leaves; green 
stalks, some with a pink shade. This could be adapted 
for a chair-back. . , 



SCHOOL 

A RT-N E E D L E WO R K, 

BOSTON. 



The Schoo.1 is established at the Museum of Fine Arts. 

PRICE OF TUITION. 

Five Dollars for Six Lessons, or Eight Dollars for Twelve 

Lessons; Private Lessons, Two Dollars an Hour. 



Classes in session on Tuesdays and Fridays for those desiring two lessons 
a week; Wednesdays for those taking one lesson a week. Hours from 9 to 
II A.M., and 10 a.m. to 12 M. Private lessons, 12.30 to 1.30 p.m. 

Free lessons on Mondays and Thursdays, 9 a.m. to 1.30 P.M. 

Materials and designs will be furnished at a moderate price. 

Applications for instruction to be made by letter to the School for 
Art-Needlework, Museum of Fine Arts. 

Mrs. C. G. LORING, Secretary, 

No. I, Mount-Vernon Place. 



Mrs. G. W. Hammond. 
Mrs. W. B. Rogers. 



Mrs. W. G. Weld. 
Mrs. J. P. Marquand. 
Mrs. W. R. Ware. 
Miss Susan Hale. 



BOARD OF MANAGERS. 

Mrs. W. G. Weld. 

Mrs. J. W. Wheelwright. 

COMMITTEE ON DESIGNS. 

Miss Annie Dixwell. 
Miss F. W. Gushing. 
Mrs. J. W. Wheelwright. 
Mr. Frank Hill Smith. 



Miss L. P. Hale. 
Mrs. C. G. Loring. 



Mr. B. C. Porter. 
Mr. Arthur Little. 
Mr. John H. Sturgis. 



BOSTON SOCIETY OF DECORATIVE ART, 

48 BoYLSTON Street. 



The rooms of the Society are open to the public daily from 10 A.M. to 
5 P.M., where are offered for sale Embroideries, Designs, and Materials 
for Embroidery; also Ornamented China, Pottery, and Tiles, and a 
variety of fancy articles. 

Orders taken for Embroidery and other Decorative Work. 



THE 

ART INTERCHANGE, 

A FORTNIGHTLY 

ART AND HOUSEHOLD JOURNAL. 

The official organ of the Society of Decorative Art, New York, with 
occasional plates. 

S1.50 J^ ■Z-IB.A.E,. 



Indorsed by the following connected with the Society: — 

Mrs. J. J. AsTOR. Mrs. Hamilton Fish. Mrs. Henry C. Potter. 

Mrs. Isaac Bell. Mrs. Burton N. Harrison. Mrs. T. M. Wheeler. 

Mrs. Joseph H. Choate. Mrs. J. W. Pinchot. Gen. Di Cesnola. 

Mrs. William M. Evarts. Mrs. David Lane. Mr. William C. Prime. 



ITS PRINCIPAL DEPARTMENTS ARE 

THE CLASS-ROOM. — Instructive and educational articles on art 
methods, including painting on wood, silk, linen, and porcelain; carving 
in wood and ivory ; suggestions as to the proper selection of furniture 
and dress ; all forms of embroidery, &c. 

THE STUDIO. — Art news, foreign and domestic art notes, personal notes 
of artists, special correspondence from the large cities here and abroad, 
and lists of pictures on sale, or exhibited in public or private galleries. 

EDITORIAL PAGE. — Opinions upon matters of immediate interest. 

THE LIBRARY. — Book reviews, notices of current periodicals, and 
literrry notes. 

THE MORNING-ROOM. — Original and selected articles upon general 

topics. 

THE DRAWING-ROOM. — Music, drama, science. 

ARCHITECTURE. — Notable facts connected with this art. 

NOTES AND QUERIES. — Reliable and complete answers to queries. 



Among its Contributors are 

WILLIAM C. PRIME, LL.D., \^f^^^^ I'^l^,^^,^^ j^.D., GENERAL DI CESNOLA, 

And many others. 



ADDRESS, 



34 East Nineteenth Street, New-York City. 



TILT O ]V»&!$ 

HAND BOOKS OF DECORATIVE FORM. 



No. 1. GREEK ORNAMENT. 

Illustrated with Twelve Plates, printed in the original colors.- 

Edited by William R. Ware, 

Prof, of Architecture in Massachusetts Institute of Technology. 

This book contains the elements of Greek Art in the original 
colors, and will be found particularly useful to Art Teachers and 
Students, Designers and Engravers, Architects and Ornamental 
Painters, and in all trades where Art Decoration is desirable. 

Price, $1.00. 



FLAXMAN'S OUTLINE DESIGNS OF THE 
HUMAN FIGURE. 

Illustrating Grecian and Roman Mythology. 
Size of Plates, 3 to 4 and 5 to 7 inches. 

These subjects are extensively used in Decorative Art and as 
Studies in Figure Drawing. 

The First Series of Twenty Designs, including Achilles, An- 
dromache, Ajax, Apollo, Circe, Calypso, Diana, Hector, Hermes, 
Iris, Juno, Jupiter, Lampetia, Minerva, Mars, Mercury, Morning, 
Neptune, Nausicaa, Penelope, Paris, Scylla, Thetis, Ulysses, Venus, 
&c., &c., now ready. 

Price, in a Portfolio, $1.00. 



GREEK VASES — Their System of Form 
and DecoratioD. 

Illustrated with Twelve Plates. 

Printed in colors, selected from the forty-four illustrations 
taken from the originals in the Royal Collection of Vases at 
Munich. Edited by T. Lau, Custodian, with a translation of the 
accompanying text, by E. H. Greenleaf. 

Price, 50 cents. 

HINTS TO CHINA AND TILE DECORATORS. 

By John C. L. Sparkes. 
Edited and Revised by an American Decorator. 

_ Illustrated with Forty of the principal Designs used by 

3*1.77-277 Wedgewood. 

X<Ot>— D Price, 50 Cents. 


















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